After the pleasantries
of ‘Four Corners’ this takes things on a step nicely, if not apace,
giving the band more character which is all it takes to dispel doubts. Verging
on urgent, ‘Alive’ is beautifully produced and both brisk and
relaxed in a cultivated manner, as vocals flap around. The expected prettiness
of their guitar is allowed to become gutsy, and they exhibit flashes of this
power throughout a trim, inviting album which should also appeal to those
outside the traditional Goth field.

‘Uncertain’
is immaculately tense, and the striking lyrical delivery snares you coolly.
Refusing to relinquish romantic dreams our doomed host is basted in his own
juices while the band plod heartily, with a very cute rhythmical dominance.
Reassuring guitar gushes forth but the fretting concerns return to keep the
mood dark. ‘Walk Away’ is weirder, with strong vocals ringing
out as the band stand back, and again the words are hung out like ominous
flags. Twinkly guitar, crisp drums and frankly exhibitionist bass undulate
happily while groans inwardly, which is good, or it’d be a dour experience.
By not mirroring the lyrical tone a vivacity occurs.

‘Wondering’
finds a drumming assassin let loose in a monastery. Worried vocals pursue
his daring work and angry, jutting guitar roughs up the softening, rolling
undertow. Driven, and with controlled incandescence, this is a sumptuous voyage
made unusual with the rhythmical geography and only let down by the curious
and unlikely end. ‘Looking Back’ is simple Goth, presenting the
notion of decisive decisions and demonstrations of devotion. Pinpoint guitar
filigree over mournful, podgy bass offsets the now boomy singer. ‘Reflections’
has further versatility and variety as the song floods with fluttering guitar
and the rhythm chops down hungrily on the more desperate, dramatic declarations.
The double vocals doesn’t work, but the resolute intensity does.

‘Taken’
will give you pause for thought. Emotional turbulence goes from anguish to
dignified resignation and the music reverberates likewise, all put over with
a heartfelt throb it’s like Furniture at their finest, for anyone who
remembers. Guitar tweezers pull at the sullen face of ‘Never Again’,
eventually encouraging some lusty bellowing which is striking. ‘Years’
is strident fluff by comparison albeit with a good drum kick and ‘Another
Day’ rounds things off with perhaps a suitable case of misery, but does
it concern someone that died, or slipped away? Either way it’s uncomfortable
and makes for a fine close to an auspiciously stately success.

They’ve
stood up, disturbing the mustiness, and it all looks and sounds good.